Amit Chaudhuri Quotes

‘Never to have lived is best. And the second best/is to grow old with the morning into/afternoon, and then to evening, when sundry shadows and gestures marry/like the vanished divisions of a shut fan.’ ( St Cyril Road Sequence )

An hour's a symbolic duration.

This is what's beautiful about staying in a club or hotel: you're invisible, as is your neighbour.

I ... take a selfie with him; two, to be safe. My lips are parted, as if I'm poking a dead thing to see if it'll come to life; it's the phone I'm attempting to keep at a distance. He's smiling faintly, as if amuse by some exotic piece of wildlife.

‘... the menu’s a delirious poem/on which the names of Moghlai and Punjabi and Parsi/

Each view has a history. You sense you're where others have been.

The eye covers distances in a second. It lusts for freedom. Looking out, I often wanted to be free - not of home, but of the city. The eye (if it's gazing upon something it's unhappy with, as I was) might see nothing. Looking up is different. I have the freedom I then wanted.

The dull pulse-like beat started at eleven o’clock at night. It was a new kind of music called ‘rap’. It baffled Ananda even more than disco. He had puzzled and puzzled over why people would want to listen and even move their bodies to an angry, insistent onrush of words – words that rhymed, apparently, but had no echo or afterlife. It was as if they were an extension of the body: never had words sounded so alarmingly physical, and pure physicality lacks empathy, it’s machine-like.

In the oldest, bunched houses with tottering stairs,

... my mother will settle on the rug and unclip the bellows, pulling and pushing them with a mild aquatic motion with her left hand, the fingers of the right hand flowering upon the keys, the wedding-bangle suspended around her wrist. Each time the bellows are pushed, the round holes on the back open and close like eyes. Without the body music is not possible; it provides the hollow space for resonance as does the curved wooden box of the violin or the round urn of the sitar. At the moment of singing, breath tips in the swelling diaphragm as water does in a pitcher. The voice-box itself is a microscopic harp, its cords tautening and relaxing with each inflection.

Mahadev Govind Ranade. Leaving aside his air of self-importance, he looks marginally foreign, as all statues do.

Her hair is troublesome and curly ... It falls in long, black strands, but each strand has a gentle, complicated undulation travelling through it, like a mild electric shock or a thrill, hat gives it a life of its own; it is visually analogous to a tremolo on a musical note.

On the big bed, Mamima and Sandeep’s mother began to dream, sprawled in vivid crab-like postures. His aunt lay on her stomach, her arms bent as if she were swimming to the edge of a lake; his mother lay on her back, her feet (one of which had a scar on it) arranged in the joyous pose of a dancer.

'Internationalism' is a way of reading, and not a demography of readership ...

Tinkling sounds came from outside, of hammering and chiselling, as labourers worked like bees, and seven- or eight-storeyed buildings rose in the place of ancestral mansions that had been razed cruelly to the ground, climbing up like ladders through screens of dust. An old mansion opposite the veranda had been repainted white, to its last banister and pillar, so that it looked like a set of new teeth. ... In another sphere altogether, birds took off from a tree or parapet, or the roof of some rich Marwari’s house, startling and speckling the neutral sky. Not a moment was still or like another moment. In a window in a servants’ outhouse attached to a mansion – both the master’s house and the servants’ lost in a bond now anachronistic and buried – a light shone even at this time of the day, beacon of winter.